Adieu Mozart New Documentary film Devoted to W.A
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Musik-Katalog Bassetthorn Bassettklarinette
Musik-Katalog für Bassetthorn (3604 Werke) und Bassettklarinette (189 Werke) von Thomas Graß und Dietrich Demus Stand vom 31.Mai 2020 Ergänzungen und Berichtigungen des Katalogs aus dem Sachbuch: „Das Bassetthorn. Seine Entwicklung und seine Musik“, 2. Aufl. 2004, Hrsg. T. Grass und D. Demus, BOD, ISBN 3-8311-4411-7. [email protected] [email protected] Formatierung und Druckherstellung: Michael Baasner 1 Inhaltsverzeichnis 1. Konzerte mit Solo-Bassetthorn 5 1.1 Solo für ein oder mehrere Bassetthörner und Orchester oder Sinfonisches Blasorchester ........5 1.2 Werke mit Solo-Bassetthorn, weiteren Solo-Instrumenten oder Singstimme und Orchester oder Blasorchester, auch Sinfonie Concertanti .........................................................................13 1.3 Historische Bearbeitungen für Bassetthorn und fälschlich oder fraglich dem Bassetthorn zugeschriebene Solowerke mit Orchester .................................................................................18 2 Kammermusik 19 2.1 Bassetthorn Solo ........................................................................................................................19 Duos 24 2.2 Bassetthorn und Klavier / Cembalo / Orgel / Vibraphon / elektronische Musik / Tape ..............24 2.3 Zwei Bassetthörner ....................................................................................................................34 2.4 Bassetthorn und ein anderes Instrument / Singstimme .............................................................37 2.5 Bassetthorn und Gitarre -
Anima Eterna Brugge & Andrea Lauren Brown
vrijdag 10.05.2013 Anima Eterna Brugge 20.00 Concertzaal 19.15 Inleiding door Ignace Bossuyt & Andrea Lauren Brown Mozart-avond Biografieën Uitvoerders en programma Opgericht in 1987 door Jos van Immerseel dan 100 opnames en cureert sinds 2002 de Anima Eterna Brugge: orkest Wolfgang Amadeus Mozart als levend laboratorium voor zijn onderzoek Collection Anima Eterna voor het label Zig- Jos van Immerseel: dirigent & pianoforte Ah, lo previdi, concertaria KV272 (1777) in de barokmuziek, evolueerde Anima Eterna Zag Territoires (Outhere). Hij is ten slotte ook (Christopher Clarke, 1989, kopie naar Brugge (BE), in residentie in Concertgebouw verzamelaar: overtuigd dat de instrumenten Anton Walter) Wolfgang Amadeus Mozart Brugge, van een compact strijkersensemble die een componist heeft gekend de sleutel Yoko Kaneko: pianoforte (Christopher Nehmt meinen Dank, concertaria KV383 (1782) tot een volbloed symfonisch orkest, dat zijn tot een correcte voordracht, bouwde Clarke, 2004, kopie naar Anton Walter) ook klassiek, romantisch en vroegmodern hij een collectie historische klavieren uit. Zij Andrea Lauren Brown: sopraan Wolfgang Amadeus Mozart repertoire exploreert. Het consequente brengen hem tot vlakbij de componist en zijn Concerto voor 2 piano’s in Es, KV365 (1779) gebruik van historisch instrumentarium, de muziek: een noodzakelijk en compromisloos Sandrine Piau heeft haar deelname aan - Allegro permanente leiding door van Immerseel, de uitgangspunt. dit concert moeten annuleren wegens een - Andante projectmatige aanpak en het respect voor blessure. Ze zal vervangen worden door de - Rondeau de intenties van de componist vormen het Yoko Kaneko (JP) studeerde piano, Amerikaanse sopraan Andrea Lauren Brown. credo van dit orkest. Solisten stammen uit kamermuziek en pianoforte in Tokio en Parijs, eigen rangen of zijn ‘vrienden van het huis’, onder meer bij Jos van Immerseel. -
Wolfgang Amadeus Mozart (Geb. Salzburg, 27. January 1756 - Gest
Wolfgang Amadeus Mozart (geb. Salzburg, 27. January 1756 - gest. Vienna, 5 December 1791) Arien, Duette, Terzette und Quartette mit Begleitung des Orchesters Band 2 Als Wolfgang Amadeus Mozart im Jahre 1777 Mannheim besuchte, verliebte er sich in die Sopranistin Aloysia Weber. Welche Liebesaffäre auch immer sie gehabt haben mochten, sie brach entzwei, und der Komponist heiratete schliesslich deren Schwester Constanze. Trotz ihrer Differenzen schrieb Mozart einige Stücke für Aloysia. 1783 präsentierte er sie mit dem Rondo Ah non sai qual pena sia il doverti (K416), das gedacht war, in Pasquale Anfossis Oper Zemira verwendet zu werden. Als sie ein zweites Mal in einer Anfossi - Oper auftrat, nämlich Il curioso indiscreto, gab ihr Mozart wiederum zwei neue Stücke zu singen: Vorrei spiegarvi (K418), das grosse Tonsprünge von mehr als einer Oktave enthielt, und No, no, che non sei (K419), das der Musik für die Königin der Nacht in seiner Zauberflöte ähnelt. Schenkt man zeitgenössischen Berichten Glauben, so hielt Mozart Anfossis Oper für misslungen - ausser der Musik, die er selbst dazu beitrug. Einige Jahre später schrieb er eine weitere Arie für Aloysia, Ah sei in ciel benigne stelle (K538), zu einem Text aus Pietro Metastasios opera L'eroe Cinese. Nancy Storace war die englische Sopranistin italienischer Herkunft, die die Rolle der Susanna in Die Hochzeit des Figaro schuf. Höchstwahrscheinlich verfügte sie über einen enormen Tonumfang mit starken Tönen in der Höhe und Tiefe, denn genau das war es, was die Rolle erforderte. Nehme hier und da einige Schnitte vor, so ist sie so lang wie die von Wagners Isolde. So musste Storace auch über eine beachtliche Kondition verfügen. -
CHARLOTTE MARGIONO, Soprano
CHARLOTTE MARGIONO, soprano Her Fiordiligi in Jürgen Flimm’s production of Cosi fan tutte with Nikolaus Harnoncourt conducting the Royal Concertgebouw Orchestra, January 1990 in Amsterdam, put Charlotte Margiono without any doubt at the international top of Mozart sopranos. After her first Nozze di Figaro in Bern in January 1988 many Contessas were to follow in numerous new productions (Hamburg 1990/94, Aix-en-Provence 1991, Bordeaux 1995, Amsterdam 1993 and Dresden 1995, Vienna and, with the Wiener Staatsoper, in Japan 1994). Her Mozart roles include Vitellia in La Clemenza di Tito (Aix 1988, Salzburg 1991), Erste Dame in Die Zauberflöte (Amsterdam 1988, Aix 1989), Pamina in Die Zauberflöte (Bordeaux 1992), Aminda in La Finta Giardiniera (Parijs 1991) and, her favourite, Donna Elvira in Don Giovanni (with John Eliot Gardiner in Parma, Amsterdam, London, Ludwigsburg 1994). In addition to these Mozart-roles Charlotte Margiono is gradually building a wide lyrical repertoire: Marie in Die Verkaufte Braut, Mimi in La Bohème, Agathe in Der Freischütz (role debut in Hamburg 1999), Desdemona in Otello (role debut in Paris and Amsterdam, 1994), Rusalka (role debut in the Netherlands 1998), Marguerite in a concert performance of La Damnation de Faust to close the Bernard Haitink Festival in the Amsterdam Concertgebouw (1999), and Eva in Meistersinger (role debut in Amsterdam 2000). Future engagements for new roles include Leonore in Fidelio (Sir Simon Rattle, Glyndebourne 2001), Elsa in Lohengrin (Amsterdam 2002), Chrysothemis in Elektra (Brussel 2002). 3 Conductors with whom Charlotte Margiono is frequently singing are a.o. Claudio Abbado, Gerd Albrecht, Gary Bertini, Frans Brüggen, Sir Colin Davis, John Eliot Gardiner, Valery Gergiev, Carlo Maria Giulini, Hartmut Haenchen, Bernard Haitink, Nikolaus Harnoncourt, Armin Jordan, James Judd, Alain Lombard, Ingo Metzmacher, Antonio Pappano, Wolfgang Sawallisch, Marc Soustrot, Edo de Waart en Franz Welser-Möst. -
Mozart Society of America
Volume 23, Number 2 fall 2019 NEWSLETTER OF THE Mozart Society of America Inside this Issue: “A Previously Overlooked Manuscript of La clemenza di Tito in Strakonice and the Opera’s Early President’s Message, by Bruce Alan Brown 1 Reception in Bohemia,” by Martin Nedbal 5 Announcements 2 “Costume Innovations in the Parody Les amours MSA Panel at the Mostly Mozart Festival 3 de Bastien et Bastienne,” by Enrique Oliver 11 Introducing Bruce Alan Brown, President, Mozart in Prague, ed by Kathryn Libin, reviewed by and Laurel E Zeiss, Vice President 3 Mary Sue Morrow 14 American Bach Society and Mozart Society of Mozart in Context, ed by Simon Keefe, reviewed by America Joint Conference 4 Beverly Wilcox 15 President’s Message Bruce Alan Brown Embarking on a term as MSA President, I am honored to Also looking forward: as you read this, we will be final- have been entrusted by the Society’s members with the task izing the program and arrangements for the MSA’s joint of guiding its activities, and simultaneously grateful to out- conference with the American Bach Society (ABS) at Stan- going President Paul Corneilson, who has not only done a ford University (February 13–16, 2020), “Bach and Mozart: superb job of leading MSA over the last four years, but has Connections, Patterns, Pathways ” In addition to papers on also been enormously generous with his time while helping such topics as social contexts, reception, Bach-Mozart con- me get up to speed with all that is involved in keeping this nections, and digital resources, the conference will -
Concert Arias
Mozart, Concert arias CD 1 CD 2 Wolfgang Amadeus 06 | KV 486a (295a) »Basta, vincesti« 01 | KV 479 »Dite almeno in che 06 | KV 538 »Ah se in ciel, benigne »Ah non lasciarmi, no« mancai« (für Sopran, Tenor, zwei stelle« (für Sopran und Orchester Mozart (1756-1791) (für Sopran und Orchester Bässe und Orchester · quartet for for soprano and orchestra) 7:41 for soprano and orchestra) 5:24 soprano, tenor, 2 basses and 07 | KV 539 »Ich möchte wohl der 01 | KV 21 (19c) »Va, dal furor 07 | KV 374 »A questo seno deh orchestra) 6:21 Kaiser sein« (für Bass und portata« (für Tenor und vieni« · »Or che il cielo a me ti 02 | KV 480 »Mandina amabile« Orchester · for bass and orchestra) 2:41 Orchester · for tenor and rende«(für Sopran und Orchester (für Sopran, Tenor, Bass und 08 | KV 541 »Un bacio di mano« orchestra) 5:58 for soprano and orchestra) 8:24 Orchester · Trio for soprano, (für Bass und Orchester 02 | KV 23 »Conservati fedele« 08 | KV 383 »Nehmt meinen Dank, tenor, bass and orchestra) 4:52 for bass and orchestra) 2:10 (für Sopran und Orchester ihr holden Gönner!« (für Sopran 03 | KV 490 »Non più, tutto ascoltai« 09 | KV 577 »Al desio, di chi for soprano and orchestra) 7:00 und Orchester · for soprano and »Non temer, amato bene« t’adora« (für Sopran und Orches- 03 | KV 36 (33i) »Or che il dover« orchestra) 3:13 (für Sopran, Violin-Solo und ter · for soprano and orchestra) 5:55 »Tali e cotanti sono« (für Tenor 09 | KV 419 »No, che non sei Orchester · for soprano, 10 | KV 582 »Chi sà, chi sà, qual und Orchester · for tenor and capace« (für Sopran -
Migrating Mozart, Or Life As a Substitute Aria in the Eighteenth Century
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Migrating Mozart, or Life as a Substitute Aria in the Eighteenth Century ISABELLE EMERSON Hikers, especially in difficult terrain, spend a lot of time looking down at the trail where, among the frequent sights, are deposits by various animals. These droppings, or scat, are packed with information about the local fauna. But they are also a significant factor in the distribution of flora, as animals and birds eat in one location and eliminate in another—a process of dissemination botanists term seed dispersal. The practice in the eighteenth century, of carrying one’s favorite arias around from opera to opera, strikes me as quite similar to this paradigm in nature: the singer ingests the aria in one location, and emits it in another. The result is significantly similar: the dispersal of the material over the geographical range of the carrier. * There has been a tendency to regard the substitute aria as not very welcome baggage, and to assess this practice and its near relative, the pastiche, as not quite respectable. I suggest that we look at the practice, not as detracting from the merits of its host work, but as a means of distribution of music. In the case of Mozart’s presence in London, this may be of some importance since none of his operas was staged in that city until 1806 (La clemenza di Tito)—fifteen years after his death. By that time, however, quite a bit of his operatic music, and many of his instrumental works, had been heard in London. -
Memberguide 2009 European Mozart Ways En
EUROPEAN MOZART WAYS MEMBER GUIDE 2009 Austria - Belgium - France - Germany Great Britain - Italy – Netherlands Slovakia - Switzerland - Czech Republic INDEX OF CONTENTS AUSTRIA: NETHERLANDS: WIEN INNSBRUCK SWITZERLAND: LINZ ZURICH PROCINCE OF SALZBURG CITY OF SALZBURG SLOVAKIA: St.GILGEN BRATISLAVA BELGIUM: GERMANY: AUGSBURG BAD REICHENHALL BONN FRANKFURT KIRCHHEIMBOLANDEN KOBLENZ MAINZ MANNHEIM MUNCHEN NEUBURG an der DONAU OFFENBACH SCHWETZINGEN CZECH REPUBLIC: BRNO OLOMOUC PRAGUE FRANCE : REGION BAS-RHIN / STRASBOURG PARIS GREAT BRITAIN : LONDON ITALY: REGION OF LOMBARDIA REGION OF TOSCANA ALA BOLOGNA BOLZANO CREMONA IMOLA MILAN NAPLES ROME ROVERETO SESSA AURUNCA TURIN VERONA W.A. MOZART´S 17 TRAVEL ROUTES MOZART – BRIEF BIOGRAPHY There's no better way to learn about W.A Mozart's life and W.A. Mozart was born on January 27, 1756 as the seventh child music than by tracing his footsteps through Europe, visiting the of "Salzburg's royal chamber musician" Leopold Mozart (1719 - buildings where he spent the nightstand performed his concerts. 1787) and his wife, Anna Maria Walpurga Pertl of St. Gilgen Whether small or large, many cities have traces of W.A. Mozart near Salzburg (1720 - 1778). At a very early age, the two - the young man who became the most famous and most surviving children, Maria Anna, known as "Nannerl" (1751-1829) universal composer in the history of the western world. This is and heryounger brother Wolfgang, displayed an extraordinary particularly due to the impressions and influences gained on his musical talent. Their father neglected his own musical work to journeys from the age of 5 to his death. His father, Leopold devote himself to the education and exploitation of his children. -
Encyclopedia of Mozart.Pdf
Mozart’s enduring popularity, among music lovers as a composer and among music historians as a subject for continued study, lies at the heart of The Cam- bridge Mozart Encyclopedia. This reference book functions both as a starting point for information on specific works, people, places and concepts as well as a sum- mationofcurrentthinkingaboutMozart.Theextendedarticlesongenresreflect the latest in scholarship and new ways of thinking about the works while the articles on people and places provide a historical framework, as well as inter- pretation. The book also includes a series of thematic articles that cast a wide net over the eighteenth century and Mozart’s relationship to it: these include Austria, Germany, aesthetics, travel, Enlightenment, Mozart as a reader, and contemporaneous medicine, among others. Many of the topics covered have never been written about before in English-language Mozart publications or in such detail, and represent today’s greater interest in previously unexplored aspects of Mozart’s life, context and reception. The worklist provides the most up-to-date account in English of the authenticity and chronology of Mozart’s compositions. cliff eisen is Reader in Historical Musicology at King’s College London. He has published numerous articles on Mozart and late eighteenth-century music, andiscurrentlyworkingonanannotatedtranslationofHermannAbert’sclassic W. A. Mozart as well as an edition of selected Mozart letters. simon p. keefe is Professor and Head of Music at City University London. He istheauthorofMozart’sPianoConcertos:DramaticDialogueintheAgeofEnlightenment (2001) and editor of The Cambridge Companion to Mozart (2003) and The Cambridge Companion to the Concerto (2005). The Cambridge Mozart Encyclopedia Edited by CLIFF EISEN and SIMON P. -
Diplomski Rad-Ivana Duvnjak-Uvodne Stranice
Problematika izvođenja Mozartovih koncertnih arija Duvnjak, Ivana Master's thesis / Diplomski rad 2020 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, Music Academy / Sveučilište u Zagrebu, Muzička akademija Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:116:904542 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-07 Repository / Repozitorij: Academy of Music University of Zagreb Digital Repository - DRMA SVEUČILIŠTE U ZAGREBU MUZIČKA AKADEMIJA DIPLOMSKI RAD Problematika izvođenja Mozartovih koncertnih arija Ivana Duvnjak Pjevanje Mentor: red. prof. art. Vlatka Oršanić ii Sadržaj: 1. Uvod: Vječna inspiracija za koncertna remek – djela..........................................................................1 2. Biografija..............................................................................................................................................4 3. Koncertna arija kao glazbeni hibrid i Mozartov stav prema pjevačima.............................................15 3.a. Povijesni aspekt i glazbene forme arije.......................................................................................19 3.b. Genij i inspiracija – Dive i muze...................................................................................................22 4. Mozartove koncertne arije za sopran................................................................................................25 4.a. Kronološki popis koncertnih arija za sopran................................................................................27 -
Mozart and the Czechs
The Friends of Czech Historic Buildings, Gardens and Parks Newsletter Issue 7 Summer/Autumn 2012 Mozart and the Czechs informed music historian of the 18 th century, found by Catherine Sprague the Czechs so well versed in music that Bohemia should be properly termed the “conservatory of Europe”. A Portrait restored by The Friends appears to be the only surviving Mozart spent nearly one third of his life travelling painting of Mozart’s generous patron all across Europe, visiting as a youth the cities of Munich, Mannheim, Paris, London, Munich and Researching a new book on Mozart has brought The Hague, along with all the major cities of Italy. me into fortunate contact with The Friends of Czech Historic Bulidings, Gardens and Parks Mozart became very discerning about composers when, about a year ago, I came across a portrait of and was quick to criticize. But two that he did not Count Thomas Vinciguerra Collalto on the Friends’ criticize were Jiří Antonín Benda (1722-1795) and website. This came as a complete surprise as I had Josef Mysliveček (1737-1781). Of Benda, Mozart spent a good deal of time searching for his picture. especially admired two of his compositions, Medea As many know, Mozart performed at the Collalto and Ariadne auf Naxos that he heard in Mannheim Palace in October 1762, marking his first public in 1778 and sought to use as a bouncing board for appearance in Vienna. Although I had sought his the writing of duodrama. In a letter to his father portrait at several of his estates, I was told the Mozart stated that “Benda has always been my paintings were probably too damaged to recover. -
827949088568.Pdf
Wolfgang Amadeus Mozart (1756-1791) 7 Voi avete un cor fedele, KV 217 6. 59 Ombra Compagna – Concert Arias Aria (Possibly an insertion aria for the opera Le nozze di Dorina by Baldassare 1 A Berenice – Sol nascente, KV 70 12. 05 Galuppi, libretto after Carlo Goldoni) Recitative and Aria (Licenza) 8 Ah, lo previdi, KV 272 13. 16 (Composed to celebrate the birthday of Archbishop Sigismund von Scene Schrattenbach, probably performed directly after the opera Vologeso by (Scene from Andromeda, a libretto by Vittorio Amadeo Cigna-Santi, Giuseppe Sarti) previously set to music by several composers including Giovanni Paisiello) 2 Alcandro, lo confesso – Non so d’onde viene, KV 294 9. 44 9 Vado ma dove? oh Dei!, KV 583 4. 11 Recitative and Aria Aria (Text from Pietro Metastasio’s L’olimpiade) (Insertion aria for the opera Il burbero di buon cuore by Vicente Martín y Soler, 3 Bella mia fiamma – Resta, oh cara, KV 528 9. 49 text by Lorenzo Da Ponte) Recitative and Aria 10 Ah se in ciel, benigne stelle, KV 538 7. 38 (Text from Cerere placata, festa teatrale by Niccolò Jommelli, Aria libretto by Michele Sarcone) (Text from Pietro Metastasio’s L’eroe cinese) 4 Vorrei spiegarvi, oh Dio!, KV 418 7. 00 Aria (Insertion aria for the opera Il curioso indiscreto by Pasquale Anfossi) Total playing time: 81. 30 5 Chi sà, chi sà, qual sia, KV 582 3. 15 Aria Lisette Oropesa, Soprano (Insertion aria for the opera Il burbero di buon cuore by Vicente Martín y Soler, text by Lorenzo Da Ponte) il pomo d’oro 6 Misera, dove son!, KV 369 7.